A Little About Jewish Piyutim
Agadelcha
LYRICS
Rabbi Avraham Ibn Ezra
MUSIC
folk - Yemenite
Agaddelkha Elohei kol neshama, ve'odekka berov pahad ve'eima. Be`omdi tokh qehalekha tzur leromem, lekha ekra` ve'ekkof rosh veqoma.
Reqi`ei rum halo nata bemivta, veha'aretz yesadah `al bemila.
Hayukhal ish haqor et sod yotzro, umi Hu ze bekhol qedma veyama. Meromam Hu `alei kol pe velashon, asher hifli ve`asa kol behokhma.
Veyitgaddal begoy qadosh ve`elyon, veyitqaddash Shemeih rabba be`alma.
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Translation:
I will speak of your greatness , God of all souls, and I will praise you, with much fear and awe,
While I stand within your congregat ion, forever exalting, to you I will bend my knees and lower my head and stature.
He planted the stars with his speech, and anchored the land to nothingne ss.
Can a man investiga te the secret of his creation? And who is He who is in every direction ?
He is praised by every mouth and tongue, which He miraculou sly made his wisdom.
And He is exalted by a holy and elevated nation, may His great name be made holy in the world!
User- contribut ed translati on
Information:
A popular song for the shabbat table
Maqam Nahawand.
Abraham ben Meir Ibn Ezra (Hebrew : ?? ????????? ???? ?????? ?????? ??????? ?A?rāhām ben Mē?īr ?ībn ?ēzrā?, often abbreviated as ???"?; Arabic : ??????? ?????? ??? ???? Ibrāhim al-Mājid ibn Ezra; also known as Aben Ezra or simply Ibn Ezra, 1089 / 1092 – 27 January 1164 / 23 January 1167)[1] [2] was one of the most distinguished Jewish biblical commentators and philosophers of the Middle Ages . He was born in Tudela in northern Spain .
Abraham Ibn Ezra was born in Tudela , one of the oldest and most important Jewish communities in the present-day Spanish province of Navarre . At the time, the town was under the Muslim rule of the emirs of Zaragoza .[3] However, when he later moved to Córdoba , he claimed it to be his place of birth.[2] Ultimately, most scholars agree that his place of birth was Tudela.
Little is known of Ibn Ezra's family from outside sources; however, he wrote of a marriage to a wife that produced five children. While it is believed four died early, the last-born, Isaac, became an influential poet and later convert to Islam in 1140. The conversion of his son was deeply troubling for Ibn Ezra, leading him to pen many poems reacting to the event for years afterward.[4]
Ibn Ezra was a close friend of Judah Halevi , who was some 14 years older. When Ibn Ezra moved to Córdoba as a young man, Halevi followed him. This trend continued when the two began their lives as wanderers in 1137. Halevi died in 1141, but Ibn Ezra continued travelling for three decades, reaching as far as Baghdad . During his travels, he began to compose secular poetry describing the lands through which he was travelling as well as beginning to pen the deeply rational Torah commentaries he would be best remembered for.[2]
Eshal Elohai Yigala Shevuyim Yehosef ben Yisrael
Yemen 17th Century
Eshal Elohai? ???? ????
Edit Song ? Discussion ? History ? Print
Esh'al Elohai yig'ala shevuyim, ye'sof zeruyim.
Bizkhut mekhunna Av hamon legoyim, yizku lehayyim.
`Eit yiqre'u bishmo yehu `anuyim, ki hem retzuyim.
Bizkhut asher gala lenaharayim, holid neqiyim.
Arba` degalim halekhu geluyim, hanu b'elim.
Al timsera otam beyad zeruyim, yihyu qenuyim.
Ata asher tabit elei `aniyim, shomer petayim.
Na`ale le'artzenu beshir vezimra, uvron vehadra.
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Information:
Yemenite zemer by Shalom Sharabi. Commonly used in Israeli dance. This is an abridged version, found in most Sephardic birkhonim.
Maqam Kurd.
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Sar Shalom Sharabi (Hebrew : ?? ???? ????? ????? ?????), also known as the Rashash, the Shemesh or Ribbi Shalom Mizra?i deyedi`a Sharabi (1720–1777),[1] was a Yemenite Rabbi , Halachist , Chazzan and Kabbalist . In later life, he became the Rosh Yeshiva of Bet El Yeshiva in the Old City of Jerusalem . His daughter married Rabbi Hayyim Abraham Gagin of Jerusalem, making him the great-great-grandfather of Shem Tob Gaguine , the "Keter Shem Tob." His son was Yitzhak Mizrahi Sharabi and his grandson was Chief Rabbi Chaim Abraham Gagin .
Biography[edit ]
Sar Shalom Sharabi was born in Jewish Sharab , Yemen . He moved to the Land of Israel , then under Ottoman rule, in fulfilment of a vow. On his way he stayed in India, Baghdad and Damascus. In Damascus, he was involved in a dispute of Halacha over the minimum olive size kezayit of matzah that one should eat at the Pesach Seder .
In Israel, he made a strong impression on the local rabbinic sages, and is frequently mentioned in their books. At Bet El Yeshiva, he belonged to a group of 12 mekubalim along with Hida , Torat Hakham , Rabbi Yom-Tov Algazi and other sages of Sephardic and Yemenite congregations. He remained at Bet El Yeshiva until his death, eventually becoming Rosh Yeshiva . He himself was a devotee of the teachings of Rabbi Isaac Luria , and a principal innovator within Lurianic Kabbalah .
Popular tradition links his departure from Yemen with a miracle that occurred after a rich Muslim woman tried to seduce him. In Bet El, he worked as a servant and hid his learning from others; when his knowledge of Kabbalah was accidentally discovered, he became a member of the kabbalistic circle. According to legend, the prophet Elijah appeared to him, and he is understood by the major Kabbalists as being himself the Gilgul of the Arizal . His grandson, Solomon Moses Hai Gagin Sharabi , wrote a poem of praise on his mastery of the Etz Hayyim and Shemonah She'arim of Hayyim Vital . Members of Bet El continue to prostrate themselves on his grave on the Mount of Olives on the anniversary of his death.
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Writings[edit ]
He was one of the earlier commentators on the works of the Ari , a major source of Kabbalah. His Siddur was known as the "Siddur Ha-Kavvanot," and is the main siddur used today by Kabbalists for prayer, meditation and Yeshiva study. It is a siddur with extensive Kabbalistic meditations by way of commentary.
His writings include "Emet va-Shalom", "Rehovot Hanahar", "Derech Shalom" and "Nahar Shalom", in which he answers 70 questions of the Hahamim of Tunis, who were among the leading Sephardic authorities in the 18th century. He also commented on the minhagim (customs) of the Yemenite Jews and compiled them in volumes known as "Minhagei Rashash", an exclusive edition of the Shulchan Aruch , where he gives his interpretations of the halachot, as well as noting the particular customs of the Shami Yemenite community. These volumes are still actively used by this community to reach Halachic decisions regarding holidays, marriage and Shabbat services.
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Shobehi Yerushalayim
Psalm 147 ? Line 12 and 13
Jerusalem praise God
Tzion praise God
Jerusalem praise God
Tzion praise God
For He made your gates locks strong
For He made your gates locks strong
For blessed the sons that sit in your city
For blessed the sons that sit in your city
For blessed the sons that sit in your city
Praise God Tzion??
Praise God Tzion??
"Ozreni El Chai (Help us, living God) was written by Rabbi Raphael Antebi (1830–1919), who was born in Aleppo [Haleb], in present-day Syria".https://lyricstranslate.com
Hakham Raphael Antebi Tabbush of Aleppo was an outstanding composer of pizmonim.? He was the son of Hakham Yisshaq Antebi and a rabbi who composed more than 400 pizmonim, and also restored those that had been lost.? He rejuvenated the use of pizmonim in the Syrian Jewish communities.
Hakham Tabbush gained respect among prominent singers. He was known teasingly as a “thief” because he would take melodies from other singers – at Arab weddings, coffeehouses, and other social events - to listen to the new Arabic songs and add Hebrew text, making the song a holy pizmon.
Hakham Tabbush was very famous for the pizmonim he wrote and they even made it to Morocco and to Aden where the communities included some of his pizmonim in their song books.? He used to teach in Midrash ‘Aboud Harari in Halab and he visited the Talmud Torah often to test out boys that he felt would have a capable future in hazzanut and pizmonim.? His first book, “Shira Hadasha,” was published in Aleppo 1888.? In 1893 he was in Jerusalem for the induction ceremony of Hakham Yaaqob Shaoul Elyashar as Rishon Lesiyon and he wrote a Golden Song for the event which he trained 2 choirs to sing at.? The song is “Yisa Berakah.”
Hakham Tabbush had a pizmon for every occasion, whether a wedding, bar misvah, or simple social gathering.? His poetic talents were so profound that even when in conversation with someone, he would find himself creating poetic stanzas from the subject matter of the discussion.
All of Hakham Tabbush’s pizmonim were incorporated into a book published in Jerusalem in 1905 by R’ Raphael Haim Cohen. This work was reprinted with further additions in 1921 and was called “Shir Ushbaha.”
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He is the teacher of Hakham Moshe Ashear, Murad Harari, Afrir Cohen, Eliahou Hamaoui, among others.
Towards the end of Hakham Tabbush’s life he moved to Egypt. He passed away in Cairo, Egypt in 3 Kislev, December 1918.
Et Dodi Kalah
Shalom ben Yosef Shabazi Edit Profile
also known as Sholem Shabbezi or Salim al-Shabazi
Rabbi Shalom ben Yosef Shabazi of the family of Mashtā, also Abba Sholem Shabbezi or Salim al-Shabazi was one of the greatest Jewish poets of all time who lived in 17th century Yemen. He is now considered the 'Poet of Yemen'.
Background
Shabazi was born in 1619 in the town of al-?a?īd. His family's pedigree has been traced back to Zera?, the son of Judah, the son of Jacob who is called Israel. At the death of his father, Yosef Mashta, Shalom moved to the small town of Shabbez, near the city of Ta'izz.
Career
Not long thereafter, he again moved and settled in Ta'izz where he built a house of prayer and a ritual bath (mikveh) outside of the city, beneath Jebel ?abir. It was from here that he and his family were expelled, along with most of the Yemenite Jews in 1679. He died in ca. 1720. His father, Yosef ben Abijad ben Khalfun, was also a Rabbi and a poet. Shabazi's extant poetic diwan, comprising some 550 poems, was published for the first time by the Ben-Zvi Institute in 1977. He wrote in Hebrew, Aramaic, and Judeo-Arabic. Shabazi's other works include a treatise on astrology and a kabbalistic commentary on the Torah. Shabazi's grave in Ta'izz is revered by Jews and Muslims alike. He is now considered by Academics as the 'Shakespeare of Yemen'.
He wrote a commentary on the Torah called Hemdath Yamim (Pleasant Days). His leadership was instrumental in helping the Jews of Yemen survive some of the worst persecution in its history. Mori (Yemenites often call their spiritual leaders "Mori" meaning "my master" or "my teacher"). Shabazi wrote a kinah (lamentation) for recitation during the Ninth of Av, recalling the terrible exile of Jews in his lifetime (known as the Exile of Mawza) from all cities and towns in Yemen to an inhospitable desert called Mawza, duringtime the Jews were banished there of which 20% perished.
The Diwan of Mori Shabazi alludes not only to that dreadful event in 1679 but also to the Decree of the Headgear in 1667. Shabazi's Diwan has become an essential part of Yemenite Jewry's spiritual and cultural lives.
According to Professor emeritus, Yosef Tobi, "the fundamental revolutionary change in the poetry of Yemen occurred with the work of Yosef ben Yisrael (17th century), when poetry became the primary tool for spiritual expression of Yemenite Jewry, and when the subject of exile and redemption took on vitality and had the most concrete political significance. Even more so, we find this change in the poetry of his younger relative, Shalom Shabazī."
In Shabazi's Diwan there can be found many long eschatological poems, numbered at several dozen, and which open with the words, Baraq burayq, or with compounds that are similar to them, said to be a sign of some supernatural occurrence, as one of the signs heralding the coming of the Messiah. The founder of these genres of poetic visions of redemption is Yosef ben Yisrael in whose footsteps followed many poets, including Shabazī who is said to have refined it.
Mori Shalom Shabazi is said to have written nearly 15,000 liturgical poems on nearly all topics in Judaism, of which only about 850 have survived the ravages of persecution, time and the lack of printing presses in Yemen. He wrote his Diwan (Anthology of liturgical poetry) in Judeo-Arabic, Hebrew and Aramaic. When rumors reached Yemen concerning Shabbetai Zevi in 1666, many of the Jews of Yemen were drawn after him, including Shabazī himself, even though the rabbinic court at ?an?ā’ had completely rejected the faith in this pseudo-Messiah. In Shabazi's poem, Adon ha-kol me?ayye kol neshama, he alludes to Shabbetai Zevi in these words: "We have heard singing from the end of the earth: / A righteous gazelle has appeared in the East and West." The “righteous gazelle” (in original Hebrew: zevi ?addīq) is an allusion to Shabbetai Zevi. Mori Shalom Shabazi is also said to have composed several poems concerning the Exile of Mawza (Galut Mawza), which he witnessed in his day.
Currently, the Israeli government and the Chief Rabbinate are trying to bring the remains of Rabbi Shabazi to Israel. Many of his poems have elaborate detailed premonitions of returning to Israel, with his people.
Works
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Personality
An example of Shabazi's sublime poetic style is seen in the following lyric although the rhyme has been lost in the translation:
“ May God watch from His sacred abode and smite / all the enemies of His people in the blink of an eye. Herewith God rises and stands on a plumbline[5] [to judge the oppressors] / He shall let them drink a cup of venom, but not wine. Destroying angels shall hasten towards them, to smite / them with Heavenly arrows and with weapons of war. Turn back, O Zion, and see the consolation of your son / when Cain is given to annihilation. My Saviour, summon a day when I shall unsheathe my sword and smite / them, all that are comely and pleasant to look upon.
Song of Songs
From Wikipedia, the free encyclopedia
For other uses, see Song of Songs (disambiguation) . Several terms redirect here: for other uses, see Canticle (disambiguation) , Canticle of Canticles (TV series) , Song of Solomon (disambiguation) . For the Chinese poetry, see Classic of Poetry
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Song of Songs (Cantique des Cantiques) by Gustave Moreau , 1893
The Song of Songs (Hebrew : ????? ??????????? ?īr ha?īrīm, Greek and Ancient Greek : ?σμα ?σμ?των, romanized : ?sma asmátōn; Latin : Canticum canticorum), also Song of Solomon, Canticle of Canticles, or Canticles, is one of the megillot (scrolls) found in the last section of the Tanakh , known as the Ketuvim (or "Writings").[1] It is unique within the Hebrew Bible : it shows no interest in Law or Covenant or the God of Israel, nor does it teach or explore wisdom like Proverbs or Ecclesiastes (although it does have some affinities to wisdom literature , as the ascription to Solomon indicates); instead, it celebrates sexual love, giving "the voices of two lovers, praising each other, yearning for each other, proffering invitations to enjoy".[2] [3] The two are in harmony, each desiring the other and rejoicing in sexual intimacy ; the women of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers' erotic encounters facilitates the participation of the reader.[4]
In modern Judaism the Song is read on the Sabbath during the Passover , which marks the beginning of the grain-harvest as well as commemorating the Exodus from Egypt.[5] Jewish tradition reads it as an allegory of the relationship between God and Israel; Christianity , as an allegory of Christ and his bride , the Church .[5] [6]
The Song was accepted into the Jewish canon of scripture in the 2nd century CE, after a period of controversy in the 1st century. It was accepted as canonical because of its supposed authorship by Solomon and based on an allegorical reading where the subject-matter was taken to be not sexual desire but God's love for Israel.[20] For instance, the famed first and second century Rabbi Akiva forbade the use of the Song of Songs in popular celebrations. He reportedly said, "He who sings the Song of Songs in wine taverns, treating it as if it were a vulgar song, forfeits his share in the world to come".[21] However, Rabbi Akiva famously defended the canonicity of the Song of Songs, reportedly saying when the question came up of whether it should be considered a defiling work, "God forbid! [...] For all of eternity in its entirety is not as worthy as the day on which Song of Songs was given to Israel, for all the Writings are holy, but Song of Songs is the Holy of Holies."[22]
It is one of the overtly mystical Biblical texts for the Kabbalah , which gave esoteric interpretation on all the Hebrew Bible. Following the dissemination of the Zohar in the 13th century, Jewish mysticism took on a metaphorically anthropomorphic erotic element, and Song of Songs is an example of this. In Zoharic Kabbalah, God is represented by a system of ten sephirot emanations, each symbolizing a different attribute of God, comprising both male and female. The Shechina (indwelling Divine presence) was identified with the feminine sephira Malchut , the vessel of Kingship. This symbolizes the Jewish people, and in the body, the female form, identified with the woman in Song of Songs. Her beloved was identified with the male sephira Tiferet , the "Holy One Blessed be He", central principle in the beneficent Heavenly flow of Divine emotion. In the body, this represents the male torso, uniting through the sephira Yesod of the male sign of the covenant organ of procreation.
Through beneficent deeds and Jewish observance , the Jewish people restore cosmic harmony in the Divine realm, healing the exile of the Shechina with God's transcendence, revealing the essential Unity of God. This elevation of the World is aroused from Above on the Sabbath, a foretaste of the redeemed purpose of Creation. The text thus became a description, depending on the aspect, of the creation of the world, the passage of Shabbat, the covenant with Israel, and the coming of the Messianic age. "Lecha Dodi ", a 16th-century liturgical song with strong Kabbalistic symbolism, contains many passages, including its opening two words, taken directly from Song of Songs.
In modern Judaism, certain verses from the Song are read on Shabbat eve or at Passover , which marks the beginning of the grain harvest as well as commemorating the Exodus from Egypt, to symbolize the love between the Jewish People and their God. Jewish tradition reads it as an allegory of the relationship between God and Israel.[5] The entire Song of Songs in its original Hebrew is read on the intermediate days of Passover in Synagogues during the intermediate days of Passover. It is often read from a scroll similar to a Torah scroll in style. It is also read in its entirety by some at the end of the Passover Seder and is usually printed in most Hagadahs . Some Jews have the custom to recite the entire book prior to the onset of the Jewish Sabbath.
Hineh Mah Tov? ?????? ??? ?????
Edit Song ? Discussion ? History ? Print
Hineh Mah tov umah na'im shevet achim gam yachad.
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Translation:
Yea, how good and how pleasant it is for brothers and sisters to dwell together in unity!
(User -contribu ted translati on)
Information:
Lyrics: Psalms 133:1
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Anim Zemirot
From Wikipedia, the free encyclopedia
Anim Zemirot (Hebrew : ????? ??????, lit. "I shall sing sweet songs") IPA: [?an??i?m z?mi??roθ] is a Jewish liturgical poem recited in most Ashkenazic synagogues during Shabbat and holiday morning services; in most communities, it is said at the end of services, and in a small number of communities it is recited at the beginning of services or before the Torah reading. Formally, it is known as Shir Hakavod (??? ?????, lit. "Song of Glory") IPA: [??i?r hakk??βoe] , but it is often referred to as anim zemirot, after the first two words of the poem.
Anim Zemirot is recited responsively, with the first verse read aloud by the shaliach tzibbur (???? ?????, lit. messenger of the congregation), the second verse recited by the congregation in unison, and so on. The poem is believed to have been written by Rav Yehudah HeHassid , the 12th-century German scholar and pietist .
Structure[edit ]
The main body of Anim Zemirot consists of 31 original verses, followed by two verses from Tanach : the first from Chronicles 29:11 and the second from Psalms 106:2. From the fifth to the twenty-eighth verse, the verses each begin with the successive letter in the Hebrew alphabet , except for the letter reish (?) and tav (?), both of which appear twice. As there are an odd number of verses within the main body, the congregation traditionally recites the last verse of the main body along with the shaliach tzibbur. The last two verses are then recited alone by the members of the congregation; the shaliach tzibbur recites the verse from Psalms aloud to indicate the completion of Anim Zemirot and allow the members of the congregation who are saying kaddish yatom (???? ????, Mourners' kaddish) to begin their recitation.
The Holy Ark is opened for the recital of Anim Zemirot, befitting its formal title of "The Song of Glory." There is an account that this name originated because of an old tradition to recite the last four verses of Psalm 24 prior to reciting Anim Zemirot.[1] According to the Levush , the recital of Anim Zemirot has been restricted so that it not become overly familiar and mundane.[2] While most congregations recite it on Shabbat and Jewish holidays, the Vilna Gaon was of the opinion that it should be recited only on holidays. A small minority of congregations recite it only on Rosh Hashanah and Yom Kippur .[3]
In many synagogues, it has become the custom for Anim Zemirot to be recited by a child.[4]